#montreal completement cirque

[skillstopallmedia]

Montreal Completely Circus | The Return of the Giant

The Place Ville Marie giant, a huge 52-foot steel structure, will be erected again on the Place Ville Marie esplanade (PVM) for most of July – twice a day, from July 7 to 30. The show that will be presented there, created by Cirque Éloize, is the main element of the outdoor program unveiled Monday by Montréal Complètement cirque. Posted at 12:58 p.m. There will therefore be only one giant,…

[harrisonarchive]

George Harrison attending a Cirque du Soleil show, 16 December 2000; photos © Camerapress and American Photo Library.

How George set in motion The Beatles LOVE by Cirque du Soleil...

Olivia Harrison: “Actually, it [The Beatles LOVE] was George’s vision. George and Guy Laliberte had a friendship and they had this creative spark of a moment and, you know, George was around just long enough to transmit that to all of us. And through everyone’s effort it came through. I think it’s been seven years – seven years.” Q: “What do you think George would have thought of it?" OH: “I think he would have loved it. I just know he would have. I know that he – he loved Cirque. You know, Cirque is a very romantic thing. He was a very romantic person. And I know he would have enjoyed it.” - Larry King Live, 2007

“The idea had been conceived six years earlier at one of [Guy] Laliberté’s parties, when, around a campfire, he and George Harrison developed what would be a lasting friendship. ‘I never saw Guy look so happy as that night,’ said one acquaintance.” - Independent, 22 September 2009

“‘I remember quite purely that in Paul [McCartney]’s mind, in Olivia [Harrison]’s mind, it was George’s show that we were doing,’ [Dominic] Champagne said. ‘Slowly and slowly it became our show.’ […] ‘The Beatles were always ahead of themselves,’ Olivia Harrison said, ‘and it’s the same with the show. We were trying to master something that wasn’t able to be mastered at that time. The tools that are available now have allowed the show to become what we all thought that it was going to be in the beginning. I think now it’s completely right.’” - Los Angeles Times, 16 July 2016 (x)

At the Mirage in 2006, commemorative plaques for George and John were unveiled by Paul McCartney, Yoko Ono, Ringo Starr, and Olivia Harrison:

"It is hard, you know. I mean their presence is very powerful and very strong. But the incredible thing about them is that they - everything they left the world and left us is uplifting and joyful." - Olivia Harrison, Larry King Live, aired 26 June 2007

“It's an honor for me to do this today. It's not really a pleasure because I'd prefer the man was standing next to me, but this is life as we know it. George was a great musician and a dear friend. I love him and I miss him. God bless him, and I'm sure wherever he is, he's smiling right now." - Ringo Starr

"Olivia Harrison said George's focus in encouraging [Paul] McCartney, [Ringo] Starr and [Yoko] Ono to agree to collaborate on the Cirque project wasn't exclusively about the show itself. Their collective presence for the anniversary event was another expression of why he felt so strongly about the project. 'He wasn't here for the specifics of how it manifested,' she said. 'But he knew it was going to be good, he knew it was going to be fun, he knew it was going to bring everybody together. And that's why he wanted to do it... We've all had fun; we've all had the occasion we wouldn’t have had to spend time together.'” - Los Angeles Times, 28 June 2007 (x)

“George and Guy [Laliberte] met in the 1990s on the Formula One circuit. Guy hosts a party after the Montreal Grand Prix, so George went. George came home and said, ‘You know, there was a man and a woman sitting in a lake. She had a tuxedo on and he had a ball gown on and they sat at a table all night long having a candlelit dinner with water up to their waist. There were people in feather costumes swinging in the trees like birds.’ This really was right up George’s alley. Guy was the visionary and so was George. They had a lot of excited conversations. George instigated a meeting with Paul, George, Yoko, Ringo and Guy. Everyone wanted to have fun, be creative and have someone else be the vehicle for that. […] All of us are so emotionally involved. I tend to look at George’s music, see what they’re doing with that [...] [and] always love to see [George’s] face. I thought [the show] was beautiful. Overall, it’s meant to uplift. It’s meant to make people happy, and it does that.” - Olivia Harrison, Newsweek, 23 June 2006

“I think I can put my hand on my heart and say, 'Yes, he would have been thrilled.’ And he would have been back and forth to Vegas so many times, seeing that show, and taking everyone. He really liked to be with his friends and he liked a good party and a good time. [...] It really was [bittersweet] and I know that Paul and Ringo were feeling that, missing them too, and for Yoko and I, it was very emotional, because you hear their voices and they're almost just right there.“ - Olivia Harrison, Toronto Sun, 1 December 2006 (x)

“‘Love,’ Cirque’s fifth show in Las Vegas, began with a conversation between Beatle ‪George Harrison‬ and Cirque’s founder-CEO Guy Laliberte at a party during the Montreal Grand Prix in 2000. Harrison wanted to do two shows — one of Beatles music and one of his own — with both conveying messages of hope and love and music as a universal language. Laliberte carried on with the idea after Harrison’s death.” - Variety, 28 June 2006 (x)

Q: “Las Vegas wasn’t the first choice to host this show, was it?” Olivia Harrison: “No. When George was alive, there was a plan to create it here in London. That didn’t happen, and then it was going to be in New York, and of course September 11 happened, and that was a very difficult time. So it wasn’t always the idea, but I think it’s a good place and it’ll be fun.” Q: “Did you and George like Las Vegas? Did you go on vacations there?” OH: “No. Never. It’s not really our sort of place, to be honest. George and Paul and Heather and I flew in to see ‘O’ [early in the development of ‘Love’]. That was the first time I was ever in Vegas.” Q: “Has your impression of the city changed since you’ve visited?” OH: “I’d rather be in my garden, let’s put it that way.” - Newsweek, 2006 (x)

[virtchandmoir]

In Conversation: Jean François Ménard & Tessa Virtue

Join Canadian Olympic figure skater Tessa Virtue for a discussion with sought-after mental performance coach Jean François Ménard about his book Train (Your Brain) Like an Olympian and the exclusive techniques and strategies used by professional athletes to refocus and achieve your full potential.

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The global pandemic has completely disrupted how, where, and when we work and added tremendous pressure to individuals and their families. Learn how to refocus and achieve your full potential from one of the world's top mental performance coaches. In Train (Your Brain) Like an Olympian, Jean François Ménard provides the skills necessary to:

Remain focused in the face of distractions

Overcome negative self-talk and replace it with a constructive mindset

Recover quickly and learn from setbacks

Be comfortable with the uncomfortable

Elite athletes need to deal with multiple distractions, manage their stress levels, and have robust self-confidence to deliver podium-worthy performances. In our current work-from-home reality, these pressures are also experienced by those of us who are asked to do more with less and work longer hours with fewer distinctions between work and private lives. The pressure to perform at your best and be on the mark is always present, and let's face it, being consistently great in an environment like this is easier said than done. Whether your performance realm is the playing field, the workplace, the home office, or the classroom, mental strength is no longer simply an asset. It's an absolute necessity.

Thriving at work and in life doesn't happen by accident: there are teachable skills that can help you stay positive, stay focused, and unleash your full potential. This book will give you exclusive access to techniques and strategies that help Cirque du Soleil artists, Olympians, and pro athletes become the best in the world.

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Jean François Ménard (Montreal, QC) is a mental performance expert who coaches high achievers in all walks of life. He is the founder of Kambio Performance, accompany specializing in mental training and leadership coaching. His clients are proven winners: Olympic gold medalists, Cirque du Soleil artists, Super Bowl and X Games champions, surgeons, musicians, and corporate leaders. He is a best selling author, a radio personality, and an accomplished speaker who travels the globe to share his knowledge with top-performing companies.

Tessa Virtue is the most decorated female figure skater in history. Together with her ice dance partner, Scott Moir, the pair earned 5 Olympic medals (3 gold, 2 silver) and captured 3 world titles. Throughout their 22-year partnership, Tessa and Scott epitomized teamwork, resilience, and grace. Tessa is currently pursuing her Masters of Business Administration at Queen's University, and has collaborated with countless corporate brands for national campaigns. Committed to empowering girls, Tessa continues to inspire the nation as she navigates life beyond sport.

Date: February 2, 2021 Time: 6:00 p.m. CST

—Indigo Events

[aceveria-art]

all i want is to fly with you, all i want is to fall with you

completely self indulgent au where draco fucks off to montreal after the war and joins cirque du soleil. 3 years later, auror harry has just finished an assignment in canada and is forced by his boss into an impromptu vacation, starting with tickets to the circus. harry doesn’t expect to keep coming back to the circus, and draco doesn’t expect to keep running into his old school rival, but somewhere along the way they fall in love

「 INSTA & KO-FI: aceveria 」

i was gonna write more about this au but i’m losing steam lol anyway have a closeup

pose and insp from “rewrite the stars”

[sweepseven]

Alegria: In a New Light review

I - and many others - have expressed a great deal of skepticism about the new Alegría. The original was done with such grace and care, it was such a classic, that I worried a remount and recreation could never capture the magic. A new version wouldn’t diminish the impact of the first, but I did feel strongly that it deserved a fitting homage.

I am proud to say with total confidence that Alegría: In a New Light is not only worthy of its name, but is an incredible spectacle in its own unique right. It’s a modern tale of revolution for a modern time. Everyone was right to say the message of Alegría is timeless. This remount proves that, not refutes it.

And thanks to the machinations of one @thegoldenpandabear​, I have another exceptional Cirque experience to add to my track record, and it might be the best one yet. 

I’ve been backstage four times before, once through luck, twice through connections, and once through a somewhat questionable sequence of events. But this time what we thought would be a quick jaunt behind the scenes turned out to be an invitation to watch the entire matinee from backstage. We chatted with the cast, we felt the floor shake with the thunder of music and audience applause, and we high-fived everyone as they jogged offstage at the end of the show.

The highlight by far was Irene Ruiz Martin, the new White Singer. She is one of the most magnetic, sincere, and shining people I have ever met in my life. When we first spotted her she was sitting in front of a glass door facing the sun, framed in a little square of light as she ran through vocal exercises, the rhinestones on her costume casting sparkles all around her. I never want to forget that image - something about it and her told me right away that she was the perfect cast for this role. Later during intermission she spent a full fifteen minutes chatting with us, talking about all sorts of things from her challenges during the Montreal stop to her character development (“I see myself as the air and water, and the Black Singer, she is the earth and the fire, and when we are together…” she clasped her hands together and her expression said the rest). Her anxiety over living up to Francesca Gagnon’s legacy and her relief at receiving her blessing. Her passion for her work, and her respect and love for her audience. Her understanding of the show’s message and dedication to communicating it with complete sincerity. Her excitement at having more women in the cast, and in such powerful roles.

When she found out I do trapeze, she grabbed my arm and said, “That’s so amazing! You go onstage - you do the trapeze and I’ll sing Querer!” I don’t think she could have said anything that would have had a greater impact on me. And like I mentioned in my previous post, I’ve been very emotionally tender about trapeze lately. So to have someone as kind and dedicated to her craft - to have the actual White Singer herself - take my arm like a friend and joke that she would sing Querer for me… she couldn’t have known how much that would mean to me.

That was the mood for the entire show. This cast is full of such bright, passionate, dedicated performers that it radiates from the stage. You have no choice to take it with you when you leave, along with a handful of snow. You must see Alegría In a New Light. Act by act breakdown below.

Opening: a very active animation precedes an absolute powerhouse opening. The Old Birds skitter around onstage with Fleur and the clowns, and meanwhile the cellist and accordionist pace around to set the mood. Once the show begins in earnest, the entire place rumbles with the incredible bass of Mirko’s new arrangement. The two “factions,” the aristocrats and Old Birds led by Fleur and the Bronx led by the Black Singer, bound onstage and stare each other down under the neutral observance of the Nymphs and the oblivious passion of the White Singer. Right off the bat the conflict is much clearer than it ever was in the original: change is here, and it won’t be ignored.

Acro poles: what an amazing and inventive act. The opening flows right into it with an uncommonly seamless transition (the poles are already onstage from the top of the show), and what follows is an incredible display of trust and teamwork.

Crossed cyr wheel: a super nice guy and very talented artist. He had some trouble with a fall in the first show, but when we were in the audience he did it flawlessly. For some reason this was one of the more forgettable acts in the show and I can’t put my finger on why - maybe the rest were just extra extra amazing. Regardless, the optical illusion created by the two wheels is very cool and he uses it to such great advantage.

Swinging trapeze: I’ll say it up front: I shed a tear. The caliber of this act is unlike anything I have ever seen on a trapeze, and at this point I can say I’ve seen a shit ton of trapeze. This duo’s passion beams out of them like a spotlight, their chemistry and connections are perfect, and you can see the joy in what they do. They seem like lovers in a way the old act did, but even more so. Something in the way they look at each other communicates such depth of respect and admiration that it nearly stole the show from the actual tricks. I was initially disappointed and confused to learn Vai Vedrai wouldn’t be paired with this act, but now that I’ve seen it with Querer, I completely understand and adore the change. This is a perfect act.

Backstage, they were utter professionals. Interested in their performance and feedback, calm, collected, critical. Seeing them in that context first made their emotional performance later that night all the more impressive.

Fire knife: no one under that tent is having more fun than this guy. He was incredibly friendly backstage and served the role of wishing everyone good luck before they took the stage: they all had little rituals with him, from high fives to fist bumps to hugs. His smile is infectious beyond description - the audience could feel his passion burn hotter than his torches and everyone fed off of one another in a way I’ve never seen before. He adored it, and we could feel his gratitude. His interactions with Elena were interesting too - they’re both visibly Bronx, but there’s something special about them that sets them apart. 

Aerial straps: wow wow wow. Wow. Beautiful in every way. This is probably my favorite straps duet from Cirque - they truly look in love. I can’t remember, because all of these moments felt like a beautiful dream. The music box arrangement of Alegría is so gentle to match…. I don’t know what to say about this act except that when it was over, I wanted to fall in love too.

Sometime around here, I think after this act, the lights set into the stage lit up one by one and the Angels drew the light upward with their hands, almost like jellyfish. Fleur found a way to light the staff’s crystal himself too, which was interesting - the power it held was symbolic, it could be created from nothing and freely given. It was nice to see him learn that lesson. Closer to the end of the show, he passes the crystal to the White Singer and she accepts with grace. But he might as well be handing her a flower or anything else: she’s above this power struggle to the point of near unawareness of it, and though she’s grateful for the gift, it loses its meaning the moment she accepts. It’s a lovely moment and lesson worth ruminating on. 

Hula hoops: I already knew Elena Lev was a queen but I never thought I’d see it in person. She lives up to her reputation in every way. Her character is aloof and controlled, but with the smallest touches of spark: she winks at the audience once and it happens so fast you might think you imagined it. The act itself is very similar to her original one, which is crazy - more than eighteen years later and she’s better than ever.

Power track: I LOVE the little Bronx whoop. That is an adorable touch that the cast has really embraced - I heard it a few times backstage just for fun. They make such a powerful team and I love how gender balanced this act is now. Their tricks were performed with total precision, and interestingly they favored tall, slow tricks over lightning fast ones. There were some big ones for sure, but most were about power and control rather than speed. It was an excellent choice. I will say that these costumes are my least favorite in the show - I wish they were easier to tell apart, like the Volta Free Spirits.

Handbalancing: this was in for hand to hand and honestly I’m glad, because it was unreal. An Angel is supported by two reverent Bronx on probably ten different canes of various heights, and her control and stage presence defy description. She was also absolutely gorgeous and I would do anything to achieve whatever highlight she had goin on because it was rad. The Black Singer and Vai Vedrai on this act are heavy and intense, particularly the violin and accordion that has been added since the premiere.

Aerial high bar: my heart sank a little to see the setup to this act - I never wanted the dream to end! But it’s worth noting the way the Bronx support the Angels at different points in the show. It’s most apparent here, with two Bronx catchers and a team of Angel flyers above. The tricks had me gasping repeatedly and the trust and teamwork were amazing. I will say that this isn’t the best to view from the front row for obvious reasons, but like fuck me for even complaining about that.

Finale: if I remember nothing else from this performance, let it be Irene recognizing us in the front row, beaming, and grasping our hands. We sang along the whole time. The connection between artist and audience was perfect in this moment, and the entire crowd was on its feet. Irene told us earlier about how she and the cast and the audience are all one. She’s right.

Clowns: very cute. Incredibly nice people. I think they had a liiiittle too much stage time for my taste - three interludes is a lot - but they did make the most of them. Plus, like, canon gay characters. Can’t find fault with that. I do miss the melancholy of the original snowstorm act, but this one has a charm all its own that spans the entire length of their characters’ development. The snow continues to fall during the entire intermission and aerial straps and it’s completely magical.

Characters/Story: I love love love the clearer story. Today’s revolution calls for boldness and action, not delicacy and nuance, and I think IANL captures that beautifully. Fleur is much goofier in this version and I do miss the exaggerated self-importance of his former self, but it’s true that he was always a court jester and that is much more apparent now. He’s gentler and not quite as selfish, and absolutely adores attention. The Old Birds are also purely comical, so the presence of the old establishment doesn’t loom quite as heavily in this new take. What does the job instead is the constantly empty throne, and an interlude (with the song from Le Bal!) that reads suspiciously like a faux-funeral parade for a dead king. I look forward to seeing that scene again so I can pay closer attention.

Across the board, all the characters are more human, and I love them for it. The Angels don’t seem like a world apart - they’re here with us, they love and they tease, and the aristocrats and Bronx have very palpable chemistry as well.

Music: I can’t imagine them doing a better job with the adaptation of the original soundtrack. There wasn’t a single song I didn’t love. And those that we don’t hear in full - Malioumba, Taruka, Rinalto Vera (!!!) - we still catch in interludes. It speaks to the care that went into recreating this show. So many musical moments felt like tiny love notes to their longtime fans.

And the White and Black Singers….sigh. I wish I had the words, but I don’t. Nothing I can say will adequately capture the force of nature that is Mirko or the power that radiates from the Black Singer during Cerceaux. They are splendid complements for one another, both as characters and as vocalists, and their moments onstage together really are magical.

The Black Singer’s role has been built up substantially compared to the original, which is excellent. She has multiple solos throughout the show, most notably Cerceaux and Vai Vedrai.

As for the White Singer, Irene plays her in such a way that evokes purity, cleansing calm, and gentle power. There’s a bit of humble ignorance there too, which I loved the most: she’s a herald of change but doesn’t even realize it, too busy pouring her heart out, eyes closed to the scene around her. She holds her hands to her heart often, shoulders close, like she’s holding something in, but it’s like trying to stifle starlight. It radiates out of her anyway, and towards the end of the show she stands atop a platform above a shining golden star, arms held wide. It’s a beautiful image.

Overall:

One of the best experiences I have ever had under a Grand Chapiteau. I can’t believe I ever doubted Cirque would treat one of their greatest masterpieces with anything but the utmost care and respect. If you loved the original, go. If you never saw the original, go. If you have no hope, invent.

[vincethetriceratops]

Shared Interests

There is not much people who have a degree in English literature that aren’t teacher. I feel lucky to have a family where literature and arts are an important part of our education. My aunt studied English literature at the University of Montreal many years ago. I knew that, but I never really asked her what she was doing for a living. When I got this assignment, I figured it would be a great opportunity to bond a little bit more with my godmother and learn new things about her job and her life. I learned that she also did a degree in education, so that she could teach. She used to be an English teacher at the École National de cirque in Montréal, Québec for a few years. She used to be a school tutor for the teenagers participating in a kids’s talent show based in Montréal called Mixmania. As of now, my aunt mostly works as a translator and corrector for well known magazines such as National Geographic and Nature. She is a freelancer, which means she decides on the contracts she wants to work on and has a saying on the time she has to do to complete them. Her work gave her the chance to travel to a lot of places in the world, but mostly in the United States and in France. She says she doesn’t miss being a teacher, although she did love it, but she prefers her job as a freelance translator, because she gets to work on various subjects and learn new things every time, rather than always teaching the same subject. She is also someone who prefers to work alone, so having her own office at home works best for her, instead of travelling to the same office every day. I thought it was really interesting to learn more about my aunt’s life and career, and it gave us the chance to realize that we have more in common than what we thought. I found out a new kind of career that I could do after the end of my education and discovered that there is more to do with an English degree than just teaching or journalism. I really liked that moment I got to share with her and enjoyed that I got to know her better, as well as talking about our mutual passion for writing. It was a great experience to have.

[queensorayamangal]

Markham sisters Paolina and Selena Russo seek bright lights of fashion, dance

MARKHAM ECONOMIST & SUN by Tim Kelly

Outgoing siblings got start at Unionville High School; now in London, Montreal. Read more…

[nostalgicphile]

Okay, so I should confess that I did go to Montreal. Not only that but, due to a confluence of events that actually involved one of my friends being taken into unexpected surgery (happy to report she is completely okay, though doctors did have to remove her belly ring that I took her to get 17 years ago) I actually went to the con and I even paid the extra dollars to see the sausage-fest panel of initially grumpy Duchovny, the ever-so-eager-to-please MP, and the somewhat rambling-but-not-altogether uninteresting WBD. (I also discovered I lived in the same teeny-tiny town as WBD did, so go figure.) Yes, I totally sold out. ;) But, honestly, I had a great time. As always, it’s about the people. One of my favourite moments from the trip was when one of my friends warned me the bathroom floor of our suite was treacherous because she slipped on the bathmat getting out the shower.

Me: Oh my God, are you okay?

Friend #1: Yeah, I just fell on my ass.

Friend #2 (calling from the other room): Her ass broke the fall!

I mean, among “your people” that shit is just so funny, you know? (Also, I was quite punchy and hungover and, yes, I am easily amused.)

Montreal showed its lively self, with overly-generous bartenders pouring us far too many free drinks, Cirque du Soleil performers practicing in the streets, and the Montreal Jazz Festival raging around us. It reminded me to make a point to visit this lovely city more often.

As for all the philes that I met for the first time (you know who you are): what an absolute pleasure. Thank you for driving me down a mountain, hanging out for drinks, and generally laughing about the silliness of this obsession-side life of ours. You are an absolute delight and certainly helped make it all worthwhile.

[humansofhds]

Juliana Cohen, MDiv ’19

“A few months after my daughter was born, we moved to Colombia. My plan was to work part time, to take advantage of having my family around to help out with my daughter. But rather than working for pay, I ended up doing volunteer work. That year in Colombia informed and shaped the experience I would eventually have at HDS.”

Juliana is a mom and a football-soccer fan who loves listening and dancing to any type of music. She was born and raised in Colombia and studies women’s religious history in the Americas at HDS.

Revelation and Awakening

I started my undergrad degree in Bogotá, Colombia—that’s where I’m from. Halfway through my studies, I moved to Montreal to finish my degree in anthropology at Concordia University. There I realized I could study religion without enrolling in a seminary, which wasn’t an option in Colombia. When I started taking classes in religion, I became intrigued by the world of possibilities that had opened before my eyes. I felt extremely lucky to have the opportunity to ask questions about religion in a secular context and to study with people from different religious backgrounds. In Colombia, most people I knew were Catholic. Apart from a very few Jewish friends from childhood, I had never really been in an educational environment where I got to ask existential questions and discuss issues of religious identity with people from different religious backgrounds. I enjoyed every moment of it.

By the time I ended my program at Concordia, I knew I wanted to study religion for the rest of my life, and I wanted to go to a top tier university. But I didn’t have the discipline or the GPA. I also needed a break, because between the time I spent in college in Colombia, and my time at Concordia, it took me seven years to complete my undergraduate studies. Back then I never imagined that I would end up at a place like Harvard.

My interest in the academic study of religion coincided with an awakening in my spiritual life. I was raised Catholic but never really understood Catholicism. At a young age, I began asking questions about God and about what happened before we were born or after we died. By the age of 12, I declared myself an atheist.

While studying religion at Concordia, I took a class on the Hebrew Bible. My professor had a bachelor’s degree in chemistry and had also been ordained as a Rabbi. Looking back, I realize that his training as a scientist and as a theologian shaped the way he taught the Bible. I started reading the Bible for the first time, and everything about it felt like a revelation to me. My professor’s perspective was something I never expected to encounter in a scripture class. While studying for that class, I had many moments where I thought: “God exists. I just hadn’t understood before.”

Back then I was not thinking of converting to Judaism, but studying the Hebrew Bible changed the way I saw the world and God. One day I read a commentary that said that when God created the universe, God retreated and left creation contained in a vessel of darkness. Right now creation exists in the dark, and God is in exile until the time comes for God’s return. This explains why there is so much evil and suffering in our world. But there are cracks in this vessel, and through these cracks the light of God enters our world with the help of human agency. When humans act from a place of love, or show compassion toward all forms of life, or act selflessly and generously, we are contributing to God’s return. When I read this, I felt that many questions had been answered. I could reconcile the belief in a Higher Power and human suffering, and the cosmic obligation of human beings to be agents of loving-kindness and do good.

A New Direction

Around the year 2010, my personal life and intellectual life came together. Eventually I converted to Judaism and married my husband Mike, who is Jewish. That year I moved to New York where I worked as a teacher for a while. I taught English, Spanish, and French. The diversity of people I taught presented some of the most exciting challenges I have encountered, because I had to assess the needs of each student. I taught performers from the Cirque du Soleil, who would come to my class dressed as clowns. I taught teenagers from different countries, women who worked as nannies and cleaners for expat families, a female member of the Saudi Royal family. I taught all kinds of people, and it was fun!

But after a while I felt that I needed more intellectually, so I decided to go to graduate school. I had taken some classes at the New School and I had loved their faculty and the classes I took there, so I applied to the MA in Liberal Studies at the New School for Social Research. During my time there, I focused my research on women’s intellectual history and on the study of women’s religious experiences. I took most of my classes in anthropology and philosophy. In a class on mysticism, I met a man who had served as the head bishop of Pennsylvania for several years and had a degree from HDS. He became a great mentor and a friend. He was the servant of God who directed me to HDS. When he suggested I apply to HDS, I just laughed because I thought, “There’s no way they’re going to take me.”

But I started looking into the programs at HDS and I came to visit in the spring of 2014. I attended a service led by a non-religious student organization (the “Nones”) and realized that here people could have religious experiences without believing in God. That experience made me really want to study at HDS. I went back to New York determined to apply and get accepted.

Working in Bogotá

I got pregnant in the process of applying to HDS, and my daughter was born on December 31, 2014. Our plan had been to stay in New York City, but it was tough. It was too hard for me to be a first-time mom in New York while finishing my master’s degree at the New School. My family wasn’t around to help, and it was the winter of the polar vortex. I thought I could do everything myself because so many moms seem to be able to do everything by themselves. But then I realized I couldn’t. We needed support and warmer weather.

A few months after my daughter was born, we moved to Colombia. My plan was to work part time, to take advantage of having my family around to help out with my daughter. But rather than working for pay, I ended up doing volunteer work. That year in Colombia informed and shaped the experience I would eventually have at HDS.

I worked to help the men and women who are in charge of recycling most of the waste produced by the people of Bogotá. In Colombia, like in other developing countries, we lack infrastructure to treat recyclable waste, so most of the recycling is done by hand by people who walk the streets of our cities, usually at night, sorting through the garbage. They remove recyclable items and sell what they can for a small amount of money. In addition, the government pays them a tiny salary, about $15 USD a month. Fifteen dollars!

These workers used to have horses that pulled the carts that hold the recyclables, but because of animal rights activists, they no longer use horses to pull their carts. Now they have to pull the carts themselves. Most of these people are elderly. They walk for hours in the streets of Bogotá, a cold city where it rains all the time, in the middle of the night, pulling these carts with 250 kilos of recyclable material. We owe them so much.

A friend of mine has a consulting company for waste management in Bogotá and he had been in touch with Thiago Mundano, a street artist from Brazil who does graffiti work and leads a movement to give visibility to the important work of recycling workers. One day in 2007, the artist was doing graffiti work in Sao Paulo when he met a recycler worker. He asked him if it would be okay for him to paint his cart. The man said yes, so the artist painted his cart and they parted ways. A month later they happened to run into each other, and the worker told the artist, “You changed my life. After you painted my cart, my life got better. People seem to be more conscious about recycling, they see me, and they say hello to me.” Since then, the movement has reached different parts of the world.

My friend and his business partner had been working on bringing Mundano to Bogota. They were trying to put together an event to benefit some of the recycler workers in our city. I joined the project in an early stage and we ended up hosting an event for 50 recycler workers and their families. Initially, my role was mainly to help with fundraising, but as the project grew there were more things to take care of and I ended up doing a little bit of everything.

A group of street artists and industrial designers came together and fixed and painted over 50 carts while the recycling workers and their families enjoyed different activities we had organized for them. There were circus performers and a hip hop concert. Students from medical and dental schools came to give the workers medical and dental assistance. We also had a hairstyling station. There was even a veterinary station for the workers’ dogs and cats. It was amazing. I will always be very grateful to my friend for allowing me to be part of their project. Looking back, I realize that in addition to seeking my family’s support with motherhood, this was the reason I was supposed to spend that year in Colombia.

The year I spent in Bogotá was fulfilling. I could connect to my daughter in a positive way because I wasn’t stressed out living in New York, I had a support network, and I was doing this amazing volunteer work. But at the same time I was anxious because that year I realized I was not ready to settle down in Colombia and I still wanted to come to HDS. In the end, it worked out. I applied and got accepted, and in the summer of 2016, I moved to Cambridge with my husband, daughter, and dog.

WomenCircle

One of the reasons I came to HDS was to study what a spiritual home for women might look like. I also came to study the history of female religiosity and spirituality – how women have managed to have a relationship with God within the confines of institutionalized religion but without the intervention of male mediators. My long-term dream is to build a shelter for domestic violence survivors, a shelter co-housed with a retreat center for women who want to take a break from life but don’t want to go to a psychiatric institution. I came here hoping that I could learn some skills to apply later to my long-term dream.

During orientation week I saw there was a student organization at HDS called WomenCircle. I immediately knew I wanted to be part of it. I attended their gatherings during my first year, and toward the end of the spring semester 2017 one of the former leaders asked me if I wanted to be part of the leadership. I had never led a student organization and I had no idea what I was supposed to do. But even though I knew it was going to be challenging to juggle the leadership of WomenCircle with everything else, there was no way I could turn down this opportunity.

I reached out to Sophia Wolman (MDiv ‘19) and asked her if she would be willing to co-lead the circle with me, and she said yes. I trusted her intuition and knew that we would make a good team.

The premise of the group is that when women come together with an open heart and good intentions, magical things happen. The only rule we have is that cross talking is not allowed. Our gatherings are about bearing witness to others’ experiences rather than about giving advice. It’s beautiful. It’s also highly therapeutic. People share things that are difficult to talk about in other contexts.

The gatherings end, we leave, we run into each other throughout the week and say hello but we don’t talk about what happened at the gathering. We don’t have to make confidentiality a rule; it’s tacit. We all know that what happens in the Circle stays in the Circle.

The most amazing part is the diversity of the Circle. We have members from various religious traditions and we have atheists. That’s how it should be. Race, nationality, class, religious identity, sexual orientation—those don’t divide us. We are part of the Circle because we’re women and we know what it is to walk the world as a woman.

Being part of WomenCircle has been one the most life giving experiences at HDS, in part because of the moment in history that we are living right now. Co-leading this student organization the year that #metoo and #timesup exploded has been beyond inspiring, because I got to see how the power of these movements bled into small female spaces like our Circle. #Metoo and #timesup are not only about speaking up against sexual assault. These movements are about speaking up against all forms of silencing. It has been exciting to see that younger women are not afraid to raise their voices when they feel objectified, silenced, or diminished. Ten years ago it was not like that at all. We still have a very long way to go, but being part of WomenCircle this year was a daily reminder that every time we choose to speak up, we move a step forward.  

Photos by Jenna Alatriste

[skillstopallmedia]

Montreal Completely Circus | Gravity & Other Myths will kick off

The Australian troupe Gravity & Other Myths, who blew us away almost 10 years ago with their show A Simple Spacewill present his new creation ThePulse at the opening of Montréal Complètement Cirque (MCC), learned The Press. Posted at 8:00 a.m. ThePulse, which will be presented from July 5 to 8 at La Tohu, will bring together no less than 60 artists on stage – 24 acrobats and 36 singers from the…

[architectnews]

Verdun Auditorium, Montréal Québec

Verdun Auditorium, QC Leisure Facility, Canadian Architecture, Building Renovation, Images

Verdun Auditorium in Montréal, Québec

28 Apr 2021

Verdun Auditorium

Architects: Les architectes FABG

Location: Montreal, QC, Canada

The major transformation of the Verdun Auditorium and the Denis-Savard Arena is a project to completely rebuild the Denis-Savard arena and revalue the historic architecture of the auditorium by peeling off its metal envelope while modernizing the interior of the complex.

The intervention attempts to create a dialogue both temporal where the ancient meets the modern and geographical, where the River borders the city. Thus, the meeting of the architecture takes place in an emblematic axis of this double dialogue, the foyer, from where it is possible to observe the two ice simultaneously while circulating from the city to the river.

The project also aimed to equip the complex with a new energy-efficient refrigeration system as well as obtain LEED Gold certification. Among the various strategies used, we note the reduction of water consumption in the operation of the arena, the efficiency of the mechanics, and the construction of a high-performance envelope for Denis-Savard.

The iconic Verdun Auditorium is located at 4110 LaSalle Boulevard, on the banks of the St. Lawrence River right by the Verdun urban beach at the convergence of three significant roads in the borough: Avenue de l’Église, LaSalle, and Gaétan-Laberge boulevards.

Its location on the river and in the historic center of the district makes it one of the most important landmarks of Verdun. It is one of the many recreational and cultural facilities located along the Saint-Laurent river including the Arthur-Therrien pool, Verdun urban beach, Verdun Natatorium, and the Saint-Dizier Nivard House. It is also part of the civic facilities of the former municipality including the parish complex of the church of Notre-Dame-des-Sept-Douleurs, the Verdun Hospital Center, and the current Verdun borough council. The surrounding area is mostly residential except for a few shops scattered on Avenue de l’Église and Boulevard LaSalle. It is a typical district of Verdun in that it’s composed of rectangular islets with an alley.

Inaugurated on November 28, 1939, the Auditorium of Verdun is an atypical building. It boasts a rich history in sports and cultural heritage of the Verdun and Montreal residents. Its frame, built in the early 20th century, is made up of adjoining duplexes and triplexes in clay brick, and more recently, housing towers. The original Verdun Auditorium has architectural qualities that make it a good Montreal example of the Art Deco style, characteristic of the 1930s. Used from the end of its construction by military authorities during the Second World War, it opened its doors for hockey and skating in 1946. It was home of the Verdun Maple Leafs, in which Maurice Richard played in his early days, as did the Montreal Canadiens before the construction of the Bell sports complex in Brossard. In addition to Maurice Richard, famous hockey players such as Denis Savard, Pat Lafontaine, Mario Lemieux, Claude Lemieux, and former coach Scotty Bowman have graced its halls.

With a seating capacity of nearly 4,000, the Verdun Auditorium became a venue for important political events (the 1980 and 1995 referendums) and rock music concerts (Bob Dylan, Nirvana, The Cure, Pearl Jam, and Iron Maiden). The auditorium left an indelible mark on the citizens who frequented this emblematic place during their youth.

Over the years its facade has been covered with metal siding and a second rink, the Denis-Savard arena, has been added. The mandate the FABG architects were given involved the demolition and reconstruction of the Auditorium, preservation of the Denis-Savard arena, and a complete upgrade and replacement of the Freon refrigeration system, an environmentally harmful gas while aiming for LEED Gold certification.

Rather than destroy the historic landmark, FABG architects proposed the enhancement and restoration of the auditorium and the demolition & reconstruction of the Denis-Savard arena by arranging between the two a foyer from which it is possible to observe the two rinks from the city towards the river along the axis of a new urban beach. The asphalt surfaces around the building were reduced to promote a better relationship with Parc J.-Albert-Gariépy and the ecosystem along the river.

The public spaces feature a cross-laminated timber roof chosen as much for its contribution to carbon sequestration as for its contribution to the definition of a simple and robust architectural language for these spaces. Particular care has been taken to restore and maintain the character of the interior spaces of the auditorium. This was accomplished by restoration of the original masonry facade and of the wooden benches, which are complemented by the mixed structure (wood and steel) of the roof.

Verdun Auditorium will continue to play an important role in Montreal’s public spaces; now including 3,181 square meters of additional halls, public spaces, meeting rooms, etc., which unify the two arenas and reaffirm its sports, convention, and multifunctional vocation.

Verdun Auditorium in Montréal, QC – Building Information

Project name: Verdun Auditorium Location: 4110, Lasalle boulevard, Verdun, Qc Commissioning date: October 2020 Customer name: City of Montreal, Verdun borough Name of the architect: Les architectes FABG Persons involved in the design and implementation : – André Lavoie, senior architect (project manager) – Éric Gauthier, senior architect (designer) – Anna Kreplak, archictect – Dominique Potvin, bac. arch. – Vincent Désy, architect – Simon Gaudet-Lavallée, technician Other professionals and consultants who have collaborated on the project: – Contractor: Groupe Axino inc. Engineering: Tetratech

Awards and recognitions Prize for heritage development, OAQ – 2021

About FABG Founded in 1954 and formerly known as Blouin et Associés, the firm FABG changed its name in 1988 to reflect the succession of a third generation to the management of the company that now exceeds its fifty years.

Since its foundation, the team has an average of fifteen members, and movements within the staff are quite rare. This stability is necessary for the transmission of a corporate culture that promotes the quality of service and products delivered.

The company offers comprehensive architectural services with special expertise in cultural venues and restoration and renovation projects that have earned it more than 50 awards and mentions of excellence here and abroad.

FABG architects mainly serve institutional clients for public projects. Many projects have been or are being carried out with the city of Montreal and its boroughs, from the Pierrefonds Community center, the restoration of Esso station in Verdun, the Maison de la Culture Hochelaga-Maisonneuve, and the transformation of the Bibliothèque Centrale. We have also completed the functional and technical programs for the Montréal-Nord and Saint-Charles libraries.

The effectiveness of the services provided by a firm is measured by the confidence that

grants it repeatedly and which has the consequence of gradually strengthening its degree of expertise. Over the past twenty years, FABG has been the recurring choice of major cultural stakeholders (Cirque du Soleil, Jazz Festival, National Theatre School of Canada, Ex-Centris, World Film Festival, Place des arts, etc.) for the realization of many projects in Montreal.

Photo credits: Steve Montpetit

Verdun Auditorium, Montréal, Québec images / information received 280421 from v2com newswire

Location: Montreal, Québec, Canada

Montreal Architecture

Québec Architecture Designs – architectural selection below:

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Castor Des Érables Development, Rosemont–La Petite-Patrie, Montréal, QC Architects: Parkhouse photographer : Parkhouse/Bardagi The Castor Des Érables Development in Montréal

Charlebois Lake House, Ste-Marguerite-du-Lac-Masson, north of Montreal, Québec Architects: Paul Bernier Architecte photographer : James Brittain House in Ste-Marguerite-du-Lac-Masson

Canadian Architecture

Canadian Architecture Offices

Comments / photos for the Verdun Auditorium Canada page welcome

The post Verdun Auditorium, Montréal Québec appeared first on e-architect.

[gymnasticscoaching]

Cirque du Soleil sold Cirque du Soleil Entertainment Group says it has completed the sale company to a group of its creditors led by Catalyst Capital Group. … The new owners have also agreed to keep the company's headquarters in Montreal. CBC Shows to open in 2022. Possibly 2021.

[walterfrodriguez]

Could Bob Zangrillo’s legal troubles imperil Magic City?

(Illustration by Pablo Lobato)

Bob Zangrillo walked out of federal court on a rainy day in Boston in late March 2019 wearing a black heavy coat, a charcoal suit and a blue tie. His face was drawn, forehead furrowed.

The gloomy scene was a far cry from Zangrillo’s carefree days as a playboy in Los Angeles just a few years ago, when he roamed shirtless at Burning Man-themed birthday parties and hosted Coachella after-parties attended by hordes of models and so-called influencers. Zangrillo claims to have made a fortune investing in companies like Facebook and Uber, and had presented himself as the youthful Silicon Valley investor and a Gatsby-esque figure in an Instagram age. And he’s a major stakeholder in Miami’s sprawling Magic City project.

But if the 52-year old looked sober and sullen walking out of court a year ago, he had every reason to be. As part of the sprawling federal investigation nicknamed Operation Varsity Blues, which led to charges against celebrities like Felicity Huffman and Lori Loughlin, Zangrillo had just been charged with mail fraud. He pleaded not guilty.

And while the Norwalk, Connecticut, native faces jail time over the college admission scandal, the Federal Trade Commission (FTC) is also after him, bringing civil charges in January. The FTC alleges Zangrillo chaired a company that ran scam websites set up to look like government agency portals. Zangrillo pleaded not guilty, with his lawyers arguing that he was just a passive investor.

When investors get themselves into the kind of legal trouble that ends up in a chyron on cable news, the developers on projects they’ve funded often quickly distance themselves out of fear that the project will struggle to score financing. It is unclear how much money Zangrillo has put into Magic City, but he and his family were the largest equity backers as of last year. His current legal troubles have developers practicing the art of social distancing.

Bob before the big time

A graduate of the University of Vermont and Stanford Business School, Zangrillo moved to New York in 1995. There he became the CEO of InterWorld, an e-commerce software supplier that worked with Nike and FedEx. At InterWorld, he also started UGO Networks, an entertainment company focused on gaming, which InterWorld sold to Hearst for an estimated $100 million, according to Forbes.

Zangrillo founded his private investment firm Dragon Global in 2008 and moved the company to Miami in 2010. The company says its current and predecessor funds have managed $1 billion in companies with over $500 billion of market value. Zangrillo also claims to be one of the last late-stage venture growth investors in Facebook as well as an investor in Uber, Jet.com and Twitter, according to his company’s website.

For his part, Zangrillo certainly plays the role of a Silicon Valley venture capitalist to his 10,800 followers on Instagram. On some days he is taking ice baths and practicing the Wim Hof method; on others he is showing off his water jetpack or meeting with Los Angeles megamansion developer Mohamed Hadid.

Many of his posts also show off his 11,508-square-foot waterfront estate on Miami Beach’s Di Lido Island. Zangrillo paid $7 million to acquire the property before building a house there for his primary residence in 2016.

Zangrillo, who has shied away from the media attention, declined multiple interview requests through a spokesperson, who did offer one comment: “Mr. Zangrillo’s commitment to fostering a positive and ethical workplace has never wavered, nor has his commitment to the city of Miami and its opportunity to be a global hub of innovation.”

Burning Man

Part of the vision for Magic City had its origins in the desert of Nevada. Zangrillo is a “Burner,” an enthusiast of Burning Man, the annual festival in northwest Nevada  known as much for its ecological message and art installations as it is for its thrill-seeking, power scooter-riding hedge funder attendees.

It was at Burning Man that Zangrillo and his business partner Tony Cho first displayed a silver-colored, 12-foot-high wooden structure spelling out the word “Magic,” which would ultimately become the entrance to the Magic City Innovation District in Little Haiti. The pair, who met through a mutual friend, agreed that Cho, who owns the brokerage Metro1, would be the face of the project, while Zangrillo would help recruit tech companies for it.

In December 2017, Zangrillo and Cho brought on Miami-based development group Plaza Equity Partners along with Lune Rouge, a company led by Guy Laliberté, co-founder of Cirque du Soleil. As the plans solidified, the group attempted to get a Special Area Plan (SAP), which allows property owners who control more than 9 acres of land to apply for zoning changes.

Renderings of the Magic City Innovation District

Under the SAP, the development would include 2,630 residential units, 2 million square feet of office space, 432 hotel rooms and 340,000 square feet of retail, in addition to a pop-up park and sculpture garden at the site in the middle of Little Haiti, at 6001 Northeast Second Avenue.

The development group turned to Miami’s favorite construction lender, Bank of the Ozarks, now known as Bank OZK, for its first round of financing — a $32 million loan issued in February 2018. By that time, the regional bank out of Little Rock, Arkansas, had become one of the most active condo construction lenders in Miami, New York and Los Angeles.

The news hit in March 2019 that Zangrillo was named as part of the college admissions scandal. Later in the month, Zangrillo backed out of his role as managing board member of Magic City. He was replaced by Zach Vella of the New York-based Vella Group.

“He doesn’t have any involvement,” said Vella in an interview with The Real Deal in March 2020. “All decisions are made by the board members, and Bob is completely passive.”

“He needs time to focus on current issues,” Vella added.

Some aren’t convinced that he’s distanced enough from the project.

“Just because they filed that paper in March that he’s no longer the principal in the project doesn’t mean that he is not benefiting from the project,” said Meena Jagannath, an attorney with Community Justice Project, which has filed a lawsuit against the development group for Magic City.

Zangrillo’s still doing some business for his own company, Dragon Global, though it’s unclear if that work intersects with the interests of Magic City. In May, he sought permission from  federal court to go to Montreal for a planned trip that “involved meetings with a large current Dragon Global investor and negotiations to invest in at least two such companies.” The motion did not disclose who he was meeting with, but it’s notable that his colleague on the Magic City project, Guy Laliberté has his company headquarters in the Canadian city.

An ownership chart first revealed by Miami blogger Al Crespo showed that MCD Dragon held the largest equity stake the Magic Innovation District Project, at 35 percent.

Zangrillo personally held a stake of 54 percent in MCD Dragon, while a trust that lists Zangrillo’s daughters, Ashley, Alexa and Amber, held 42 percent, and Los Angeles billionaire investor Neil Kadisha owned 3 percent.

Zangrillo also still has some role, at least, in picking out the artwork for Magic City. Twice in August the investor posted about the project on his personal Instagram account. In early December, he tagged graffiti artist Tristan Eaton in a post that read, “New Art acquisition. Cannot wait to collaborate on Art for the Magic City Innovation District

The original @tristaneaton

.”

OnPoint Global

Zangrillo is more than a backer of the Magic City project. He was chair and one of the lead investors for OnPoint Global, one of Magic City’s first anchor tenants, which leased a warehouse near the heart of the development last June.

OnPoint Global had the largest lease out of the first five tenants to sign at Magic City, taking up 12,000 out of 18,650 square feet. OnPoint was also featured prominently in marketing materials and in interviews that the development group conducted with the Miami Herald.

The company describes itself as a “leading worldwide data-driven, online publisher and service-based e-commerce provider with offices in the United States and Latin America.”

But federal officials allege, in charges filed in December, that OnPoint Global was operating a scheme to defraud people who were seeking government services. The scam allegedly included using sites like DMV.com (instead of .gov). In some cases, the FTC  claimed, OnPoint would charge people to buy information that was already publicly available.

The feds alleged the money man for the operation was Zangrillo, who they claim chaired, co-owned and invested in the company and personally received more than $2 million in distributions and salary from OnPoint Global and its subsidiaries. A federal court in Florida ruled in January that “the websites were patently misleading,” granting an injunction and freezing assets tied to the scheme.

Zangrillo’s lawyer Matthew Schwartz of Boies Schiller Flexner said that Zangrillo was not involved in the day-to-day operation of the company.

“In his role as an investor and limited partner in numerous organizations, Mr. Zangrillo monitors his investments under his companies’ investor rights but has no role in the day-to-day operations of his portfolio companies,” said Schwartz.

Jeff Schneider of Levine Kellogg Lehman Schneider + Grossman, who has acted as a receiver in other FTC cases and is not involved in the OnPoint Global case, said it is significant that the FTC brought the charges against someone as high-profile as Zangrillo. 

“It is surprising to take on so much of a public figure,” said Schnieder. “Even tangentially, these cases are generally 25-year-olds operating in boiler room spaces.”

Former OnPoint Global CFO Bob Bellack said that Zangrillo was not involved in the day-to-day decisions at the company and described his role as being dedicated to bringing investors to the company and providing mentorship to employees.

“His role was pretty typical of any VC [venture capitalist] with a company,”  said Bellack.

Yet one former employee of OnPoint Global told The Real Deal he would often see Zangrillo around the office and disputes the notion that Zangrillo was not aware of what was going on.

“I saw Bob Zangrillo walking through the offices at least once a week for 52 weeks,” said Ryan Marshall, who worked at OnPoint Global for a year as head of talent acquisition. “He was involved in major decisions … he invested a lot of money into the company.”

Cho said in an interview with The Real Deal that Magic City has no immediate plans to remove OnPoint Global as a tenant and will let the case play out.   

On the horizon

At issue right now is how much the college admissions case and the FTC case have hurt Zangrillo and the rest of the development group at Magic City. Miami is rife with developers, investors and brokers who have faced accusations of fraud. It is a city known for giving second chances.

But for now, Zangrillo is backing off. Last month, Avra Jain, developing a $200 million mixed-use project near the Miami River with Zangrillo, said that he was no longer involved in the project.

“Bob Zangrillo was not a managing partner, nor has he been involved in the day-to-day,” Jain said, declining to comment further.

Even when distanced from Magic City, Zangrillo’s troubles could impact the project’s ability to secure permanent financing beyond the loan from Bank OZK. 

David Eyzenberg of the commercial real estate investment bank Eyzenberg & Company, who helps arrange financing for real estate projects, said Zangrillo’s legal troubles will make it more difficult for the group to get financing from a traditional bank.

“If you are a traditional lender you are trying to avoid noise. If you have shareholders, you don’t want noise,” said Eyzenberg.

Andrew Ittleman, an attorney with Miami-based Fuerst Ittleman David & Joseph who is an expert on money laundering, said Zangrillo’s criminal and civil charges could also cause the other developer partners to take on personal guarantees for the project.

“There is not another way to put it; it does not make things easier for the borrower,” he said.

Especially in a world facing extreme upheaval in the wake of the novel coronavirus, what is the appetite for lending to an ambitious development like Magic City? Time will tell. But for now, it appears the project is scrubbing its ties to Zangrillo, who is set to face trial in October for the college admission scandal charges.

Based on his Instagram posts,  Zangrillo doesn’t seem too concerned.

“Life is about balance,” Zangrillo wrote in an October 2019 post. “Too much money or knowledge may not allow you to see the entire picture of life.”

The post Could Bob Zangrillo’s legal troubles imperil Magic City? appeared first on The Real Deal Miami.

from The Real Deal Miami & Miami Florida Real Estate & Housing News | & Curbed Miami - All https://therealdeal.com/miami/2020/03/26/could-bob-zangrillos-legal-troubles-imperil-magic-city/ via IFTTT

[hellosidereus]

https://www.ledevoir.com/culture/503488/montreal-completement-cirque-tomber-ou-ne-pas-tomber (presso Fossano) https://www.instagram.com/p/B8KGapdIpdT/?igshid=k3i4ewj1g8bc